3-Way Input Type Switch
Tailored input impedance and headroom for Mic, Line, and Hi-Z sources means punchy and full-range line recording with +26.5dBu of input headroom as well as alive and natural sounding DI'd instruments with it's unique BJT design and 1.5M Ohm input impedance.
Manufactured In The UK
To ensure that every product that bears our name lives up to the extraordinary performance that we quote, all of our products are carefully manufactured and tested in the UK under our watchful eyes.
Put simply, Camden 500 is one of the cleanest, most linear, and transparent preamps on the market. Our new ‘Camden’ preamp topology allows us to push the boundaries of Frequency response, phase shift, noise, and THD performance; and we have all the specs to back that up.
EIN: <-129.5dBu, 150 ohm source, unweighted
<-135.5dBu, Inputs common, unweighted
THD+N: <0.0004%, 1kHz, 35dB gain, 24dBu out
Phase Shift: <2.25°, 40dB gain, 20Hz to 20kHz
<4°, Max gain, 20Hz to 20kHz
Freq. Response: <±1dB, <5 Hz to >200 kHz, all gain settings
CMRR: >70dB, typ >85dB, 35dB Gain, 10-20kHz, 100mV Common mode
For a comprehensive and detailed look at Camden 500's technical specifications, you can view the Camden 500 technical specifications [PDF]
By our calculations and measurements, Camden 500 is the cleanest and most transparent preamp on the market. In this video Elliott dives into the tech specs and explains how we've come to this conclusion by comparing some technical data and performance specs against some undisclosed competitors preamp's as well as showing off some audio examples of Camden 500 in action. This video is not for the faint-hearted...
Numbers on a spec sheet is one thing, however those numbers can change drastically depending on the frequency measured and preamp gain. Camden 500's technical performance excels not only at key gain positions, but also when the gain control is increased to its maximum. Many preamps can boast excellent performance at one gain setting but that performance can often fall apart once the gain is increased. Camden 500 retains minimal phase shift, frequency roll-off, and THD at all gain positions enabling you to get the best results out of ribbon and low-output dynamic mics without fear of losing performance as the gain is increased.
The below graphs display key performance metrics of Camden 500 measured at all gain positions and across the audible frequency range:
Mojo Analogue Saturation
To compliment the clean front-end of the Camden 500, we built a brand-new type of saturation circuit consisting of an array of filters and discrete second and third order harmonic generators that allow precise emulation of the saturation and frequency reinforcement behaviours of vintage equipment. Mojo can be also exaggerated to far beyond the point where destructive clipping would occur with transformer-based designs for an even wider palette of saturation effects.
By manipulating these filters and harmonic generators; we can create two discrete Mojo styles; Thump and Cream. Both styles transform Camden 500 into the fattest, warmest, and most characterful preamp in your arsenal - all at the turn of a dial.
You supply the audio. We apply the Mojo.
Hear the effects of our Mojo circuit on YOUR audio files by uploading a 30 second, WAV/AIFF (24-bit, 44.1/48kHz) audio file for us to reamp into Camden 500, apply the Mojo, and then send back to you - with no additional processing of course.
We’ll send the results back to you as a WAV file for you to analyse yourself, but we’d also like to post the results online so that others can hear the results for themselves.
Before submitting, please make sure you are happy for us to post the file on our soundcloud playlist; we will apply any credits that you’d like - just let us know in the message section of the form below!